Earlier this month when Donald Glover won the Emmy Award for Best Actor in a Comedy Series (his second that night), he quipped, “I want to thank Trump for making black people number one on the most oppressed list.
“Who drew the dicks?” This is the narrative hook on which Netflix’s new mockumentary comedy “American Vandal” rests.
Visual-media of the eighties seems to have a stranglehold on coming-of-age pre-teen films, don’t they?
The romantic comedy “The Big Sick” did not open in cinemas in Guyana, which seemed particularly odd.
Early on in Perry Henzell’s “The Harder They Come,” the film establishes itself as firmly aware of the cultural and cinematic context from which it emerges.
The new film “Atomic Blonde” is a hyperaware, pop-version of the excellent 2011 adaptation of the John le Carré Cold War spy novel “Tinker Tailor Soldier Spy.”
The very last moment we see the main characters in “Girls Trip” has been playing on a loop in my brain since I saw it.
In mid-July, HBO released a brief press release about “Confederate,” an upcoming show from David Benioff and D.B.
I left “Dunkirk” with the word “liminality” on the tip of my tongue.
I kept experiencing a kind of cognitive dissonance while watching War for the Planet of the Apes, the last film in the rebooted trilogy.
Sofia Coppola’s new film, The Beguiled, begins like a fairy tale.
From its opening, Spider-Man: Home-coming announces that it places emphasis on youth.
I remember reading Roger Ebert’s review of Midnight Cowboy for a class on American film.
Today marks the beginning of the second half of the year.
This past week the Star Wars franchise was in some brief trouble.
Few words are spoken in Adero, the new short film from Guyanese filmmaker Kojo McPherson.
Wonder. Noun. A feeling of surprise and admiration that you have when you see or experience something beautiful, unusual, or unexpected.
The main dramatic trope which Everything Everything plays on dates back at least to 1848.
With underwhelming new releases on offer this week, I opted to veto a review in favour of examining something more intriguing–the cinema experience itself.
The Humanities, at its best, teaches us to think and to consider the act of creativity.
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